自然的完美形态成为我灵感的巨大源泉，它们丰富多样的形状令我着迷。

在成为陶瓷艺术家之前，Elsa Foulon是一位古董商的女儿，后来成为20世纪装饰艺术品商人。她始终保持着极高的个人品味，积累了这个世纪众多创作者的图像。在这种视觉体验的基础上，她的照明灯具就像雕塑一样诞生了，自由而纯粹的形式融合了她作为设计师的艺术和技术技能。

Elsa Foulon, before becoming a ceramist, was born the daughter of an antique dealer and then became a dealer in 20th-century decorative arts. She has always had a very personal taste, accumulating images of this century rich in creators. From this visual experience, her lighting fixtures are born as sculptures, her free and pure forms mixing her artistic and technical skills as a designer.

这位三十多岁自学成才的姑娘似乎喜欢与她的媒介不相容的大体积；现在，她已经开发出了自己的制版技术和材料，使她能够保持有机结构轻盈的同时实现美丽的体积。她的作品涵盖了座位概念、实用物品和空间设计，所有作品都展现了简洁的形式、微妙的细节和对比例的独特诠释。

This self-taught thirty-something loves large formats that seemed incompatible with her medium: she has now developed her own plate technique and materials that allow her to achieve her beautiful volumes while maintaining the lightness of her organic structures. Her work ranges from seating concepts, utilitarian objects and space design, all of which demonstrate a simplicity in form, subtle detailing and a unique interpretation of proportion.

尽管她的工艺技巧高超，对她的主题掌握得很好，但让Elsa Foulon感兴趣的是祖先的姿态之美，从想法到作品之间的漫长时间总是独一无二的。火焰的不可预测性塑造了她的灯光。这双手所使用的材料为当代设计带来了敏感性。最后，她将光线隐藏在雕塑的空洞中，巧妙地揭示出粘土的粗糙性。

Despite the skill of her processes, the mastery of her subject, what interests Elsa Foulon in the secrecy of her Parisian studio, is the beauty of the ancestral gesture: the long time between the idea and the object is always unique. The unpredictability of the fire shapes her lights. The material that these hands work with brings sensitivity to contemporary design. Finally, the light that she will hide in the hollow of her sculpture, will subtly reveal the roughness of the clay.